Stepping Off
The standard Original Floyd Rose (OFR) bridge was built with a steel baseplate, steel saddles with steel inserts, a metal spring claw, steel springs, and a thin nickel-plated brass sustain block.
Reiver’s improvements begin with two high-performance bridges. Each features steel baseplates that are very similar to the OFR baseplate in dimension, but things change fast from there. The more basic and affordable upgrade package includes stainless steel hardware (string locking screws and saddle mounting screws), but also features titanium saddle inserts, noiseless springs, a brass spring claw, and a brass Big Block sustain block. The more technically advanced and expensive version includes the same stainless steel hardware, but with a titanium block, titanium saddles with titanium inserts, a brass spring claw, and heavy-duty noiseless springs.
Stainless steel hardware is critical in Reiver’s designs for more than aesthetic reasons. Steel components are susceptible to moisture-driven corrosion—a problem that plagues the standard hardware on frequently used OFRs that are exposed to acidic sweat or the occasional beer soak. The structural integrity of titanium is a step beyond stainless steel, of course, as it verges on indestructible.
Original Floyd Rose (left) and High Performance Bridge Full Titanium upgrade (right).
Mass is also a critical and fundamental difference between the FU-Tone.com versions and the originals. While the OFR bridge weighs exactly 1 pound, the other two have drastic weight differences. The brass block version weighs in at 1.25 pounds, and the titanium block version is an amazingly light 14 ounces.
The durability and in some cases, weight advantages of these materials is beyond question, but the tonal differences can be less easy to pinpoint. And what really makes these components sonic upgrades is the way they work together.
More Boom Through Bulk
Our test guitar for this review is a pre-Fender-era Charvel with a single Seymour Duncan JB pickup. It was originally equipped with a top-mounted, non-recessed floating Floyd Rose with a 42 mm sustain block.
The brass block FU-Tone bridge was the first version I checked out. Removal and changeover included replacing the pot-metal spring claw and steel springs. And after replacing the spring claw with the new brass one, I installed the bridge into the cavity and hooked the noiseless springs into place.
Stringing up, there is a noticeable difference in the feel of clamping the strings with the titanium inserts via the stainless steel locking screws. The titanium inserts can withstand up to 140,000 pounds of pressure, while the OFR inserts have always been prone to deforming, expanding, or breaking under the pressure of the locking screw. In these respects, the titanium inserts are a vast improvement, insuring against structural mishap, and they hold the string firmly from accidental slippage. Very little effort was needed to tighten the lock screw when clamping the strings into the saddles securely.
Once the guitar was strung up, intonated, and tuned, the it sounded richer, deeper and capable of more sustain. The OFR sustain block has been known to contribute to thin tone, but the brass block FU-Tone bridge gave the Charvel a much needed boost in midrange resonance. You can also hear tighter definition and focus in individual notes and greater clarity in chords. And with the noiseless, polymer-coated springs, there was no creaking, squeaking, or any ghost resonance.
After playing for several hours with this setup, I removed the brass block rig and switched in the titanium unit. As part of the upgrade, I also replaced the noiseless springs with the heavy-duty noiseless springs. Coated in a bright red polymer, these springs have a much higher tension than common tremolo springs. While installing the bridge, hooking the springs onto the titanium sustain block required loosening the brass spring claw a considerable amount, and it’s easy to imagine that this increased tension would enhance the transfer of vibration from the block to the body. The clamping inserts inside the titanium saddles are cylindrical and almost twice the size of the standard Floyd Rose saddle insert, and they force the string to stay centered inside the saddle.
Noiseless springs on the FU-tone brass package.
Ratings
Pros: The brass package increases tonal capabilities and unlocks characteristics that might be hidden in a locking tremolo-equipped guitar. The titanium package offers structural indestructibility while giving the guitar a much more aggressive attack in tone.
Cons: The titanium block may give a guitar a harsh brittle-tone to a common wood like alder.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
Standard Upgrade Package $319
Full Titanium Package $922
Once the guitar was properly intonated and tuned, the tones were crisp with more presence. In overdriven settings, there was a much more aggressive attack that, at times, bordered on harshness. Lowering the gain on the amp alleviated most of that problem. Still, the tone generated via the titanium block seemed brittle at extreme settings compared to the brass unit or the original. Sustain was still excellent, though in general, there was less physically perceptible resonance. Also, when reaching for the arm to vibrato chords or to do extreme pitch bends, I found the heavy-duty noiseless springs made the action of the bridge much stiffer.
The sonic properties of the titanium version can vary from guitar to guitar. And when installed in a solid mahogany Charvel Natural Series, the titanium block FU-Tone bridge balanced the dark tonal characteristics of the mahogany with the added presence derived from the titanium bridge, and the guitar sounded much more alive than it did with its stock OFR. Indeed, the FU-Tone.com titanium components were what this guitar needed to produce tones beyond the low-to-midrange voice it was born with.
The Verdict
FU-Tone brass and titanium block tremolos with stainless steel hardware
have much to offer. And both have the capacity to summon the hidden
tones in a locking tremolo guitar, depending on the wood. The brass
version with stainless steel hardware and titanium inserts seems like
the most versatile package. The titanium version was more useful in a
darker-sounding guitar, as it can add a lively presence to a
fundamentally warm instrument.
It’s surprising to hear how much tonal difference you can derive from otherwise invisible components like the stainless spring claw and noiseless springs, and there’s a lot to be said for stainless steel’s longevity.
FU-Tone.com offers each component separately, so you can assemble your own system to suit your specific guitar and sonic needs—a real benefit. And whether you go for a drastic tone shift or a subtle one, you’ll be surprised at what you can achieve with parts you might otherwise have overlooked.
That’s not to say Gibson hasn’t been making some killer basses for almost as long—because they have—though a number of them have been a bass version of an existing guitar in their line. Gibson has kept busy on the bass front over the last couple of years, but it’s the new incarnation of the EB that could break the mold about what a Gibson bass can be. It’s got a totally new body style, a pair of newly designed pickups, and a vibe that’s all its own.
Elements of Style
When I initially pulled the curvy bass out
of the included hardshell case, the instrument
that was revealed just didn’t quite
shout Gibson. The new body shape for the
EB—which the company says draws inspiration
from their SG—actually has little resemblance
to other basses with the EB moniker.
Its shapely cut seems to draw more flavor
from a few models outside the Gibson line,
including some sort of reversed-horn Mosrite.
While the satin finish of the EB is also available in creme, ebony, or fireburst, our test bass was done up in Gibson’s fourth option, au naturel. And in contrast to the dark red-tortoise pickguard, the clean and simple finish highlighting the grain of the ash body pushes the vibe of a classic, woodsy instrument from the early ’70s.
A 34"-scale maple neck is glued to the body and is topped with an unbound rosewood fretboard and 20 medium-jumbo frets. And moving up the neck took me to the traditional and recognizable headstock that houses a quartet of 20:1 Grover tuners, letting me know I was indeed checking out a Gibson. The EB appeared to be put together well: I didn’t detect any finish blemishes, the neck matched up in the pocket cleanly, and all the hardware was installed nice and tight.
Getting a strap on the 8-pound bass and myself into the standing position, the feel of the EB was comfortable with its 12" fretboard radius and middle-ground 1.6" nut width. And it was weighted nicely with no hint of the neck wanting to do something it shouldn’t. As I explored the landscape up and down the semi-chunky neck, both it and the fretboard’s topside felt smooth and pit-free, and around back the satin finish was inviting. But while sliding my cupped hand up and down the sides of the fretboard, however, I did find a number of sharpish fret edges along the way, sharp enough to tear up a paper towel with just a couple of passes.
Anchoring the EB’s strings is not the 3-point bridge we’re used to seeing from Gibson. Instead, they outfitted the EB with a full-contact, top-load bridge from Babicz. User-friendly for intonation and string-height adjustments, this big bridge also excels in vibration transference. Even with the instrument still unplugged this was evident—not only to my ears, but my body as well.
Aforementioned similarities to other basses seem to end when you get to the EB’s electronics. Newly designed by Gibson luthier Jim DeCola with the intention of providing both power and versatility, the passive pickups loaded into the EB bass are a pair of beefy alnico 5 humbuckers. Pretty straightforward, they share a master tone pot and each of the pickups has its own volume control. However, each of the volume knobs is also a push/pull control, which allows swapping from humbucker to single-coil tones via a pop of the black top-hats.
Ratings
Pros:
Classic looks. Capable of handling numerous styles. Decently priced for a U.S.-made bass from a revered brand.
Cons:
Neck pickup on its own is a bit dark and muddy. Some sharp fret edges.
Tones:
Playability:
Build/Design:
Value:
Street:
$999
Company
gibson.com
EB Tone Home
Ready to hear what this recently minted
4-string sounded like plugged in, I set the
EB up through a Gallien-Krueger 800RB
matched with a TC Electronic RS410 cab.
With the GK’s EQ set relatively flat, I
started out by soloing on the neck pickup
with its volume knob rolled to 10 and the
master tone at about 3. I was hit with a
wall of thick and dark gravy-esque bottom
end, but some quick tweaking was
in order as it was a bit too muddy for
any meaningful articulation. Rolling the
tone knob to about 6 and blending in the
bridge pickup’s volume about halfway got
me to a nice, rich and smooth sound with
defined mids—spot-on for taking on ’70s
classic rock or punk, to thick blues runs
and whatever else between. And switching
the neck pickup to single-coil mode with
these settings did add a bit more girth and slicing kick to the tone. The notes were articulate, even with the thick bottom end
the EB delivered when I hung out on the
fretboard’s lower landscape.
Almost disengaging the neck pickup and leaning heavily on the bridge pickup’s volume takes you to brighter territory and where you want to be if slap and pop is your game. And while the EB’s tone isn’t blindingly bright or biting here, there’s plenty available for covering funk, dance, and anything else in need of more aggressive punch and definition. There was just a hint of hum when soloing the bridge pickup with the coil tap engaged, but for the most part, it was relatively minimal. And blending in the tapped neck pickup swallowed any hum considerably. As much as I liked the humbucker tones, I did find myself favoring the tones with both pickups coil-tapped and adjusted to pull most of the sound from the neck.
The Verdict
Whether you’re a long-time Gibson bass
fan or a bassist who, for whatever reason,
has shied away from the company’s 4-string
offerings in the past, the EB is worth taking
a look. The dressing work on the frets was
a little disappointing, but overall, the bass
was put together well. The classic vibe of
the EB and the versatile tones it’s capable
of delivering make it a solid option for all
types and levels of players, be it an intermediate
looking to make a move up, or an
addition for a regularly gigging player.
Actually, at just less than a grand for a U.S.-made, set-neck bass with quality appointments from Gibson, just about any player should feel pretty good about what they’re getting for the coin. And though the EB is most definitely a bass that leans towards rock and darker sounds overall, its sublime design and spectrum of achievable tones—which is a lot wider than, say, a T-bird—will allow it to sit in on a variety of gigging situations.
Previously, the only way to get a 7-string jazz box was to commission a handmade, custom instrument that was likely to come with a prohibitive-for-most price tag. In 1998, though, Ibanez released the Japanese-built AF207, which was just about the first production 7-string hollowbody. Since then, 7-string jazz boxes have become a more familiar sight. They’ve also become more affordable, as evidenced by the Ibanez Artcore Expressionist AFJ957. Priced at about 800 bucks, this Chinese-built axe is perhaps the least expensive, quality 7-string hollowbody on the market.
Seven Steps to Heaven
Players like George Van Eps and Bucky Pizzarelli proved that the 7-string guitar is a formidable jazz instrument, but it took a while before players were ready to break from 6-string tradition in any real numbers. Nowadays it seems every other jazzer sports a 7-string and it’s not hard to figure out why: You get lower notes to add a greater range to chord voicings or walking bass lines.
The AFJ957 has a strong visual appeal. The vintage sunburst finish coupled with gold hardware, wooden ART-7 bridge, cream binding, and bound F-holes give it a majestic look that exudes class. Smooth, gold mini-humbuckers also lend a touch of luxury. The workmanship on our test model was excellent—there’s not a lot to complain about from a quality perspective, and I’ve seen much, much worse on instruments costing more than three times the AFJ957’s price.
Playability is excellent on this guitar. Its 20-fret neck, which features a 24.7" scale and a 15.75" fretboard radius is very comfortable for playing lines and chords. And if it’s not quite as silky feeling as the neck on my Ibanez George Benson, it’s still easy to move around fast on the neck.
Whisper to a Roar
Acoustically, the AFJ957 is not super loud, but it’s vibrant and sounds clear and full enough for a late-night practice session sans amp. To put the 7-string through its paces, I ran it through a blackface Fender Deluxe Reverb and a Polytone Mega-Brute, with the low string tuned to A, à la Van Eps.
The guitar’s combination of a spruce top with flamed maple back and sides, and a 3-piece mahogany/maple set neck with a bound rosewood fretboard is a fairly classic archtop formula. And the sonic evidence suggests it works here. Starting with the neck pickup, I immediately took note of the AFJ957’s dark and velvety character, which was no doubt aided by the factory-installed D’Addario .011–.065 flatwound strings. The neck pickup is fairly dark. In fact, I thought the tone knob was rolled off even though it was all the way up. Rolling it back softened the attack a little, but also made chords sound a bit muddy.
Unlike its predecessor, the AF207, which had only a neck pickup, the AFJ957 is equipped with both neck and bridge pickups, and a 3-way selector switch, which is a very practical addition. At one point during a jam session, I wasn’t cutting through the mix very well so I switched to the middle dual-pickup position, which yielded a slightly sharper attack that made all the difference in terms of being clear and audible. It wasn’t quite as warm as the neck pickup alone but was a great option— and color—to have available in a situation where the neck pickup alone was not going to cut it.
Ratings
Pros:
Rich sounds at the right price. Excellent quality.
Cons:
Neck pickup can be a bit muddy.
Tones:
Playability/Ease of Use:
Build/Design:
Value:
Street:
$799
Ibanez
ibanez.com
The bridge pickup is even further away from the traditional jazz sound, but it’s a great fit for other jazz styles like funky fusion, as well as non-jazz styles like rockabilly and traditional blues. One minor complaint is that the pickup selector was slightly stiff, demanding a little more effort than I would like for switching pickups mid solo.
If your style leans more toward John Scofield than Pat Martino, the AFJ957 can still make the cut. I pulled out a Pro Co Rat pedal to dirty up the AFJ957 and I was able to get some killer sounds. As you might expect though, controlling feedback required continuous attention to proper string muting. And if your mind wanders for a second in these higher-volume environments, the axe will grab your attention by howling like a beast.
The Verdict
If you’re in the market for a 7-string archtop, you probably already know that there are very few instruments out there that can truly be termed affordable. You’re usually looking at instruments that start at $3,000 and quickly head higher. At the ludicrously low price of $799, the AFJ957 is almost a no-brainer—a particularly great choice if you’ve always been intrigued by 7-string jazz boxes but were afraid to take the plunge.
One slight issue I have that directly corresponds to the instrument’s rock-bottom price tag is that there is no case included. The Ibanez hardshell case runs about 100 bucks, and you’ll certainly need that, or something like it, if the guitar is ever going to leave the confines of a practice room. In some ways, it might have been better for Ibanez just to include the case and raise the price because there’s no real way around it. Case or no case, Ibanez should be applauded for making such a killer instrument priced within reach of most musicians. It’s not just a great guitar for the price. It’s a great guitar, period.